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A Family For 1640 Days

A Family For 1640 Days

Drama · 2022

Anna happily lives with her husband, their two boys, and Simon, 6 years-old, who was placed with her by the Social Care services when he was only 18 months. When Simon’s father decides that he is ready to take his son back with him, the family’s balance is at stake. Anna is torn apart: how could she possibly let go a of child who has always called her ‘Mom’?

Movie details

A Family For 1640 Days

2022 Drama 1h 42m

Critical arithmetic

One number, for now.

TMDB

7.3 / 10

Community rating

Anna happily lives with her husband, their two boys, and Simon, 6 years-old, who was placed with her by the Social Care services when he was only 18 months. When Simon’s father decides that he is ready to take his son back with him, the family’s balance is at stake. Anna is torn apart: how could she possibly let go a of child who has always called her ‘Mom’?

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over A Family For 1640 Days?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Fabien Gorgeart

Written by

Fabien Gorgeart

Mélanie Thierry

Mélanie Thierry

Anna

Lyes Salem

Lyes Salem

Driss, Anna's husband

Félix Moati

Félix Moati

Eddy Carniero, Simon's biological fathe

Gabriel Pavie

Gabriel Pavie

Simon, foster child

I

Idris Laurentin-Khelifi

Adrien, eldest son of Anna and Driss

Basile Violette

Basile Violette

Jules, youngest son of Anna and Driss

J

Jean Wilhelm

Aloïs

Court is in session

Put A Family For 1640 Days on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.